Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.
My soul is not my own any more. I cannot live like I want to. I am going to give up films.
I don't want to be a silly temptress. I cannot see any sense in getting dressed up and doing nothing but tempting men in pictures.
I'm so happy to have been a part of that process and I would go straight back into the desert in a ton of chain mail for Ridley any day of the week. He's an amazing director and I can't wait to see the long version.
This is what I wanted. They tell me that London is the best field in history. I wanted to be part of that. Because everyone will be there it will be a wonderful challenge for me. You can see the best runners, how they look, how they run. For me to beat the best is what counts.
You've got to work. You've got to want an audience to sit forward in their chairs sometimes, rather than sit back and be bombarded with images.
When you work with a director like this you don't have a real challenge because he makes the work very easy. He knows what he wants as a director.
I wanted to see the debates and I believe in the quality of the argument. I don't vote party line. I vote for the best person. I am a purist.
I think setting a goal, getting a visual image of what it is you want. You've got to see what it is you want to achieve before you can pursue it.
When you see a silent movie, you understand everything that's going on from the images because the images are so strong.
Let's put it this way: art house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.
Actually I did, because I saw the film like everyone else, ten years ago and I remembered some of it. I just wanted to see it, to kind of remember the tone a little bit.
There is a certain moment in the film when the son is in the nursing home and he goes to the television and turns it off because he sees himself in the image.
Realism is a bad word. In a sense everything is realistic. I see no line between the imaginary and the real.
The audience will have to focus on the visuals... But they had silent films before talkies arrived, and people went to see them.
My parents said, Oh, he's going to be a director someday. I wanted to be an actor.
You should look straight at a film; that's the only way to see one. Film is not the art of scholars but of illiterates.
Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.
Each new film is like a trial. Before I step in front of the camera, I do not know whether I am going to fall or whether I am going to fly - and that is exactly the way I want it to stay.
Movies are a fad. Audiences really want to see live actors on a stage.
Men want girls. Most men want little girls. They want them in film. They want to look at them. That's all they want. An evolved man is not going to look that way.
A lot of actors get concerned about their own image, even going so far as to rewrite a movie to best serve that image. All I want to do is be in good movies.
They offered me that film before I did Frida and I said, no, I'm not capable of directing. Then after seeing Julie direct, I was inspired by it. She motivated me to do it, because we don't have role models as woman for directors.
With this silent film, I wanted to hide what was going on in the clinic. I wanted to cover it up in the best cinematic way and in an entertaining manner.
Cinemas gained new young audiences who wanted films made for them.